Paramount Pictures
A cursory glance at the “IMDb Top 250 Movies” list reveals “The Godfather” as one of the top five contenders, residing in the #2 spot. If we were to apply a genre filter to this list and select crime thriller, the first of Francis Ford Coppola’s works in “The Godfather” trilogy takes the lead, with “Part II” not far behind in the #3 position. While such lists are subjective and the crime thriller genre is variegated, this ranking is hardly contentious. “The Godfather”, a gripping adaptation of Mario Puzo’s novel, rightfully garners mentions in discussions about the greatest American films of all time, and has helped define a new narrative of organized crime in cinema.
Coppola’s trilogy may be easily misconstrued as a simple narrative about mafia kingpins. However, these films not only trace the lineage of the Corleone family, but also delve into intricate diasporic identities and the darker side of the American dream. The opening of “The Godfather” orchestrates a conflict between these two aspects, with the Corleone family gradually reshaping the ideals of 1940s America, led by Don Vito Corleone (Marlon Brando) at the zenith of this new power hierarchy. Don Vito has meticulously constructed an empire that espouses specific values of family, masculinity, and personal revenge, and the ascension of his son Michael (Al Pacino) to his throne marks a shift in this legacy.
Yet, the birth of something new doesn’t always promise longevity or redemption for the father’s transgressions. “The Godfather” subtly hints at the beginning of the end, where Michael Corleone’s rise also ensures the perpetuation of deeply flawed familial and cultural practices. This includes casual sexism and the rationalization of personal vendetta as “business,” where deep-seated respect for tradition coexists with distorted views of manhood.
The Godfather examines the contradictory urges of Michael Corleone
Paramount Pictures
Michael is introduced as a character completely disengaged from the family business when we first meet him in the film’s inaugural wedding scene. His attendance at the wedding is perfunctory, and he appears more devoted to his girlfriend, Kay (Diane Keaton), despite being cordial with his father and the family consigliere, Tom Hagen (Robert Duvall). However, his trajectory takes a sharp turn driven by a thirst for revenge, which slowly mutates into a brutal desire for power and a penchant for violent corruption. On the brink of his transformation, Michael executes his adversaries (who attempted to assassinate his father) at point-blank range: an act that contravenes the Corleone brand of violence driven by “business,” as opposed to overt personal reasons.
This irreversible turning point propels Michael to revisit his roots in Sicily, where a personal tragedy extinguishes any remaining traces of kindness and remolds him into a ruthless man who fiercely adheres to and simultaneously dismantles mafia traditions. As for the Don’s daughters and any Corleone women in the family, they are either posited as sources of conflict, sacrificial pieces, or sidelined entirely.
Coppola’s ability to infuse these narrative subtleties and underlying meanings with dramatic weight and flair is remarkable, to the extent that the film serves as a prototype for the genre in every conceivable way. This audacious endeavor pays off, crafting an unforgettable depiction of organized crime, personal torment, and the rebirth of a man fated to tread in his father’s footsteps.
Credit: www.slashfilm.com
